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The official language of the Republic is Modern Standard Arabic. Arabic was adopted by the Egyptians after the Arab invasion of Egypt. The spoken languages are: Egyptian Arabic (68%), Sa'idi Arabic (29%), Eastern Egyptian Bedawi Arabic (1.6%), Sudanese Arabic (0.6%), Domari (0.3%), Nobiin (0.3%), Beja (0.1%), Siwi and others. Additionally, Greek, Armenian and Italian are the main languages of immigrants. In Alexandria in the 19th century there was a large community of Italian Egyptians and Italian was the "lingua franca" of the city.
Although Egypt was a majority Christian country before the 7th Century, after Islam arrived, the country was slowly Islamified to become a majority Muslim country. Egypt emerged as a centre of politics and culture in the Muslim world. Under Anwar Sadat, Islam became the official state religion and Sharia the main source of law. It is estimated that 15 million Egyptians follow Native Sufi orders, with the Sufi leadership asserting that the numbers are much greater as many Egyptian Sufis are not officially registered with a Sufi order.
Of the Christian minority in Egypt over 90% belong to the native Coptic Orthodox Church of Alexandria, an Oriental Orthodox Christian Church. Other native Egyptian Christians are adherents of the Coptic Catholic Church, the Evangelical Church of Egypt and various other Protestant denominations. Non-native Christian communities are largely found in the urban regions of Cairo and Alexandria, such as the Syro-Lebanese, who belong to Greek Catholic, Greek Orthodox, and Maronite Catholic denominations.
Egypt recognises only three religions: Islam, Christianity, and Judaism. Other faiths and minority Muslim sects practised by Egyptians, such as the small Bahá'í and Ahmadi community, are not recognised by the state and face persecution since they are labelled as far right groups that threaten Egypt's national security. Individuals, particularly Baha'is and atheists, wishing to include their religion (or lack thereof) on their mandatory state issued identification cards are denied this ability (see Egyptian identification card controversy), and are put in the position of either not obtaining required identification or lying about their faith. A 2008 court ruling allowed members of unrecognised faiths to obtain identification and leave the religion field blank.
The Egyptians were one of the first major civilisations to codify design elements in art and architecture. Egyptian blue, also known as calcium copper silicate is a pigment used by Egyptians for thousands of years. It is considered to be the first synthetic pigment. The wall paintings done in the service of the Pharaohs followed a rigid code of visual rules and meanings. Egyptian civilisation is renowned for its colossal pyramids, temples and monumental tombs. Well-known examples are the Pyramid of Djoser designed by ancient architect and engineer Imhotep, the Sphinx, and the temple of Abu Simbel. Modern and contemporary Egyptian art can be as diverse as any works in the world art scene, from the vernacular architecture of Hassan Fathy and Ramses Wissa Wassef, to Mahmoud Mokhtar's sculptures, to the distinctive Coptic iconography of Isaac Fanous. The Cairo Opera House serves as the main performing arts venue in the Egyptian capital.
Egyptian literature traces its beginnings to ancient Egypt and is some of the earliest known literature. Indeed, the Egyptians were the first culture to develop literature as we know it today, that is, the book. It is an important cultural element in the life of Egypt. Egyptian novelists and poets were among the first to experiment with modern styles of Arabic literature, and the forms they developed have been widely imitated throughout the Middle East. The first modern Egyptian novel Zaynab by Muhammad Husayn Haykal was published in 1913 in the Egyptian vernacular. Egyptian novelist Naguib Mahfouz was the first Arabic-language writer to win the Nobel Prize in Literature. Egyptian women writers include Nawal El Saadawi, well known for her feminist activism, and Alifa Rifaat who also writes about women and tradition.
Egyptian cinema became a regional force with the coming of sound. In 1936, Studio Misr, financed by industrialist Talaat Harb, emerged as the leading Egyptian studio, a role the company retained for three decades. For over 100 years, more than 4000 films have been produced in Egypt, three quarters of the total Arab production.[citation needed] Egypt is considered the leading country in the field of cinema in the Middle East. Actors from all over the Arab World seek to appear in the Egyptian cinema for the sake of fame. The Cairo International Film Festival has been rated as one of 11 festivals with a top class rating worldwide by the International Federation of Film Producers' Associations.
Egyptian music is a rich mixture of indigenous, Mediterranean, African and Western elements. It has been an integral part of Egyptian culture since antiquity. The ancient Egyptians credited one of their gods Hathor with the invention of music, which Osiris in turn used as part of his effort to civilise the world. Egyptians used music instruments since then. Contemporary Egyptian music traces its beginnings to the creative work of people such as Abdu El Hamouli, Almaz and Mahmoud Osman, who influenced the later work of Sayed Darwish, Umm Kulthum, Mohammed Abdel Wahab and Abdel Halim Hafez whose age is considered the golden age of music in Egypt and the whole Middle East and North-Africa. Prominent contemporary Egyptian pop singers include Amr Diab and Mohamed Mounir.
Egypt has one of the oldest civilisations in the world. It has been in contact with many other civilisations and nations and has been through so many eras, starting from prehistoric age to the modern age, passing through so many ages such as; Pharonic, Roman, Greek, Islamic and many other ages. Because of this wide variation of ages, the continuous contact with other nations and the big number of conflicts Egypt had been through, at least 60 museums may be found in Egypt, mainly covering a wide area of these ages and conflicts.
Some consider koshari (a mixture of rice, lentils, and macaroni) to be the national dish. Fried onions can be also added to koshari. In addition, ful medames (mashed fava beans) is one of the most popular dishes. Fava bean is also used in making falafel (also known as "ta'meyya"), which may have originated in Egypt and spread to other parts of the Middle East. Garlic fried with coriander is added to mulukhiyya, a popular green soup made from finely chopped jute leaves, sometimes with chicken or rabbit.
Football is the most popular national sport of Egypt. The Cairo Derby is one of the fiercest derbies in Africa, and the BBC picked it as one of the 7 toughest derbies in the world. Al Ahly is the most successful club of the 20th century in the African continent according to CAF, closely followed by their rivals Zamalek SC. Al Ahly was named in 2000 by the Confederation of African Football as the "African Club of the Century". With twenty titles, Al Ahly is currently the world's most successful club in terms of international trophies, surpassing Italy's A.C. Milan and Argentina's Boca Juniors, both having eighteen.
Egypt has hosted several international competitions. the last one was 2009 FIFA U-20 World Cup which took place between 24 September - 16 October 2009. On Friday 19 September of the year 2014, Guinness World Records has announced that Egyptian scuba diver Ahmed Gabr is the new title holder for deepest salt water scuba dive, at 332.35 metres. Ahmed set a new world record Friday when he reached a depth of more than 1,000 feet. The 14-hour feat took Gabr 1,066 feet down into the abyss near the Egyptian town of Dahab in ther Red Sea, where he works as a diving instructor.
Mosaic has a long history, starting in Mesopotamia in the 3rd millennium BC. Pebble mosaics were made in Tiryns in Mycenean Greece; mosaics with patterns and pictures became widespread in classical times, both in Ancient Greece and Ancient Rome. Early Christian basilicas from the 4th century onwards were decorated with wall and ceiling mosaics. Mosaic art flourished in the Byzantine Empire from the 6th to the 15th centuries; that tradition was adopted by the Norman kingdom in Sicily in the 12th century, by eastern-influenced Venice, and among the Rus in Ukraine. Mosaic fell out of fashion in the Renaissance, though artists like Raphael continued to practise the old technique. Roman and Byzantine influence led Jews to decorate 5th and 6th century synagogues in the Middle East with floor mosaics.
Bronze age pebble mosaics have been found at Tiryns; mosaics of the 4th century BC are found in the Macedonian palace-city of Aegae, and the 4th-century BC mosaic of The Beauty of Durrës discovered in Durrës, Albania in 1916, is an early figural example; the Greek figural style was mostly formed in the 3rd century BC. Mythological subjects, or scenes of hunting or other pursuits of the wealthy, were popular as the centrepieces of a larger geometric design, with strongly emphasized borders. Pliny the Elder mentions the artist Sosus of Pergamon by name, describing his mosaics of the food left on a floor after a feast and of a group of doves drinking from a bowl. Both of these themes were widely copied.
Greek figural mosaics could have been copied or adapted paintings, a far more prestigious artform, and the style was enthusiastically adopted by the Romans so that large floor mosaics enriched the floors of Hellenistic villas and Roman dwellings from Britain to Dura-Europos. Most recorded names of Roman mosaic workers are Greek, suggesting they dominated high quality work across the empire; no doubt most ordinary craftsmen were slaves. Splendid mosaic floors are found in Roman villas across North Africa, in places such as Carthage, and can still be seen in the extensive collection in Bardo Museum in Tunis, Tunisia.
There were two main techniques in Greco-Roman mosaic: opus vermiculatum used tiny tesserae, typically cubes of 4 millimeters or less, and was produced in workshops in relatively small panels which were transported to the site glued to some temporary support. The tiny tesserae allowed very fine detail, and an approach to the illusionism of painting. Often small panels called emblemata were inserted into walls or as the highlights of larger floor-mosaics in coarser work. The normal technique was opus tessellatum, using larger tesserae, which was laid on site. There was a distinct native Italian style using black on a white background, which was no doubt cheaper than fully coloured work.
In Rome, Nero and his architects used mosaics to cover some surfaces of walls and ceilings in the Domus Aurea, built 64 AD, and wall mosaics are also found at Pompeii and neighbouring sites. However it seems that it was not until the Christian era that figural wall mosaics became a major form of artistic expression. The Roman church of Santa Costanza, which served as a mausoleum for one or more of the Imperial family, has both religious mosaic and decorative secular ceiling mosaics on a round vault, which probably represent the style of contemporary palace decoration.
The mosaics of the Villa Romana del Casale near Piazza Armerina in Sicily are the largest collection of late Roman mosaics in situ in the world, and are protected as a UNESCO World Heritage Site. The large villa rustica, which was probably owned by Emperor Maximian, was built largely in the early 4th century. The mosaics were covered and protected for 700 years by a landslide that occurred in the 12th Century. The most important pieces are the Circus Scene, the 64m long Great Hunting Scene, the Little Hunt, the Labours of Hercules and the famous Bikini Girls, showing women undertaking a range of sporting activities in garments that resemble 20th Century bikinis. The peristyle, the imperial apartments and the thermae were also decorated with ornamental and mythological mosaics. Other important examples of Roman mosaic art in Sicily were unearthed on the Piazza Vittoria in Palermo where two houses were discovered. The most important scenes there depicted Orpheus, Alexander the Great's Hunt and the Four Seasons.
In 1913 the Zliten mosaic, a Roman mosaic famous for its many scenes from gladiatorial contests, hunting and everyday life, was discovered in the Libyan town of Zliten. In 2000 archaeologists working in Leptis Magna, Libya, uncovered a 30 ft length of five colorful mosaics created during the 1st or 2nd century AD. The mosaics show a warrior in combat with a deer, four young men wrestling a wild bull to the ground, and a gladiator resting in a state of fatigue, staring at his slain opponent. The mosaics decorated the walls of a cold plunge pool in a bath house within a Roman villa. The gladiator mosaic is noted by scholars as one of the finest examples of mosaic art ever seen — a "masterpiece comparable in quality with the Alexander Mosaic in Pompeii."
With the building of Christian basilicas in the late 4th century, wall and ceiling mosaics were adopted for Christian uses. The earliest examples of Christian basilicas have not survived, but the mosaics of Santa Constanza and Santa Pudenziana, both from the 4th century, still exist. The winemaking putti in the ambulatory of Santa Constanza still follow the classical tradition in that they represent the feast of Bacchus, which symbolizes transformation or change, and are thus appropriate for a mausoleum, the original function of this building. In another great Constantinian basilica, the Church of the Nativity in Bethlehem the original mosaic floor with typical Roman geometric motifs is partially preserved. The so-called Tomb of the Julii, near the crypt beneath St Peter's Basilica, is a 4th-century vaulted tomb with wall and ceiling mosaics that are given Christian interpretations. The Rotunda of Galerius in Thessaloniki, converted into a Christian church during the course of the 4th century, was embellished with very high artistic quality mosaics. Only fragments survive of the original decoration, especially a band depicting saints with hands raised in prayer, in front of complex architectural fantasies.
In the following century Ravenna, the capital of the Western Roman Empire, became the center of late Roman mosaic art (see details in Ravenna section). Milan also served as the capital of the western empire in the 4th century. In the St Aquilinus Chapel of the Basilica of San Lorenzo, mosaics executed in the late 4th and early 5th centuries depict Christ with the Apostles and the Abduction of Elijah; these mosaics are outstanding for their bright colors, naturalism and adherence to the classical canons of order and proportion. The surviving apse mosaic of the Basilica of Sant'Ambrogio, which shows Christ enthroned between Saint Gervasius and Saint Protasius and angels before a golden background date back to the 5th and to the 8th century, although it was restored many times later. The baptistery of the basilica, which was demolished in the 15th century, had a vault covered with gold-leaf tesserae, large quantities of which were found when the site was excavated. In the small shrine of San Vittore in ciel d'oro, now a chapel of Sant'Ambrogio, every surface is covered with mosaics from the second half of the 5th century. Saint Victor is depicted in the center of the golden dome, while figures of saints are shown on the walls before a blue background. The low spandrels give space for the symbols of the four Evangelists.
In the 5th-century Ravenna, the capital of the Western Roman Empire, became the center of late Roman mosaic art. The Mausoleum of Galla Placidia was decorated with mosaics of high artistic quality in 425–430. The vaults of the small, cross-shaped structure are clad with mosaics on blue background. The central motif above the crossing is a golden cross in the middle of the starry sky. Another great building established by Galla Placidia was the church of San Giovanni Evangelista. She erected it in fulfillment of a vow that she made having escaped from a deadly storm in 425 on the sea voyage from Constantinople to Ravenna. The mosaics depicted the storm, portraits of members of the western and eastern imperial family and the bishop of Ravenna, Peter Chrysologus. They are known only from Renaissance sources because almost all were destroyed in 1747.
After 539 Ravenna was reconquered by the Romans in the form of the Eastern Roman Empire (Byzantine Empire) and became the seat of the Exarchate of Ravenna. The greatest development of Christian mosaics unfolded in the second half of the 6th century. Outstanding examples of Byzantine mosaic art are the later phase mosaics in the Basilica of San Vitale and Basilica of Sant'Apollinare Nuovo. The mosaic depicting Emperor Saint Justinian I and Empress Theodora in the Basilica of San Vitale were executed shortly after the Byzantine conquest. The mosaics of the Basilica of Sant'Apollinare in Classe were made around 549. The anti-Arian theme is obvious in the apse mosaic of San Michele in Affricisco, executed in 545–547 (largely destroyed; the remains in Berlin).
The mosaic pavement of the Vrina Plain basilica of Butrint, Albania appear to pre-date that of the Baptistery by almost a generation, dating to the last quarter of the 5th or the first years of the 6th century. The mosaic displays a variety of motifs including sea-creatures, birds, terrestrial beasts, fruits, flowers, trees and abstracts – designed to depict a terrestrial paradise of God’s creation. Superimposed on this scheme are two large tablets, tabulae ansatae, carrying inscriptions. A variety of fish, a crab, a lobster, shrimps, mushrooms, flowers, a stag and two cruciform designs surround the smaller of the two inscriptions, which reads: In fulfilment of the vow (prayer) of those whose names God knows. This anonymous dedicatory inscription is a public demonstration of the benefactors’ humility and an acknowledgement of God’s omniscience.
The abundant variety of natural life depicted in the Butrint mosaics celebrates the richness of God’s creation; some elements also have specific connotations. The kantharos vase and vine refer to the eucharist, the symbol of the sacrifice of Christ leading to salvation. Peacocks are symbols of paradise and resurrection; shown eating or drinking from the vase they indicate the route to eternal life. Deer or stags were commonly used as images of the faithful aspiring to Christ: "As a heart desireth the water brook, so my souls longs for thee, O God." Water-birds and fish and other sea-creatures can indicate baptism as well as the members of the Church who are christened.
Christian mosaic art also flourished in Rome, gradually declining as conditions became more difficult in the Early Middle Ages. 5th century mosaics can be found over the triumphal arch and in the nave of the basilica of Santa Maria Maggiore. The 27 surviving panels of the nave are the most important mosaic cycle in Rome of this period. Two other important 5th century mosaics are lost but we know them from 17th-century drawings. In the apse mosaic of Sant'Agata dei Goti (462–472, destroyed in 1589) Christ was seated on a globe with the twelve Apostles flanking him, six on either side. At Sant'Andrea in Catabarbara (468–483, destroyed in 1686) Christ appeared in the center, flanked on either side by three Apostles. Four streams flowed from the little mountain supporting Christ. The original 5th-century apse mosaic of the Santa Sabina was replaced by a very similar fresco by Taddeo Zuccari in 1559. The composition probably remained unchanged: Christ flanked by male and female saints, seated on a hill while lambs drinking from a stream at its feet. All three mosaics had a similar iconography.
In the 7th–9th centuries Rome fell under the influence of Byzantine art, noticeable on the mosaics of Santa Prassede, Santa Maria in Domnica, Sant'Agnese fuori le Mura, Santa Cecilia in Trastevere, Santi Nereo e Achilleo and the San Venanzio chapel of San Giovanni in Laterano. The great dining hall of Pope Leo III in the Lateran Palace was also decorated with mosaics. They were all destroyed later except for one example, the so-called Triclinio Leoniano of which a copy was made in the 18th century. Another great work of Pope Leo, the apse mosaic of Santa Susanna, depicted Christ with the Pope and Charlemagne on one side, and SS. Susanna and Felicity on the other. It was plastered over during a renovation in 1585. Pope Paschal I (817–824) embellished the church of Santo Stefano del Cacco with an apsidal mosaic which depicted the pope with a model of the church (destroyed in 1607).
Important fragments survived from the mosaic floor of the Great Palace of Constantinople which was commissioned during Justinian's reign. The figures, animals, plants all are entirely classical but they are scattered before a plain background. The portrait of a moustached man, probably a Gothic chieftain, is considered the most important surviving mosaic of the Justinianian age. The so-called small sekreton of the palace was built during Justin II's reign around 565–577. Some fragments survive from the mosaics of this vaulted room. The vine scroll motifs are very similar to those in the Santa Constanza and they still closely follow the Classical tradition. There are remains of floral decoration in the Church of the Acheiropoietos in Thessaloniki (5th–6th centuries).
Very few early Byzantine mosaics survived the Iconoclastic destruction of the 8th century. Among the rare examples are the 6th-century Christ in majesty (or Ezekiel's Vision) mosaic in the apse of the Church of Hosios David in Thessaloniki that was hidden behind mortar during those dangerous times. Nine mosaic panels in the Hagios Demetrios Church, which were made between 634 and 730, also escaped destruction. Unusually almost all represent Saint Demetrius of Thessaloniki, often with suppliants before him.
In the Iconoclastic era, figural mosaics were also condemned as idolatry. The Iconoclastic churches were embellished with plain gold mosaics with only one great cross in the apse like the Hagia Irene in Constantinople (after 740). There were similar crosses in the apses of the Hagia Sophia Church in Thessaloniki and in the Church of the Dormition in Nicaea. The crosses were substituted with the image of the Theotokos in both churches after the victory of the Iconodules (787–797 and in 8th–9th centuries respectively, the Dormition church was totally destroyed in 1922).
The Nea Moni Monastery on Chios was established by Constantine Monomachos in 1043–1056. The exceptional mosaic decoration of the dome showing probably the nine orders of the angels was destroyed in 1822 but other panels survived (Theotokos with raised hands, four evangelists with seraphim, scenes from Christ's life and an interesting Anastasis where King Salomon bears resemblance to Constantine Monomachos). In comparison with Osios Loukas Nea Moni mosaics contain more figures, detail, landscape and setting.
Another great undertaking by Constantine Monomachos was the restoration of the Church of the Holy Sepulchre in Jerusalem between 1042 and 1048. Nothing survived of the mosaics which covered the walls and the dome of the edifice but the Russian abbot Daniel, who visited Jerusalem in 1106–1107 left a description: "Lively mosaics of the holy prophets are under the ceiling, over the tribune. The altar is surmounted by a mosaic image of Christ. In the main altar one can see the mosaic of the Exhaltation of Adam. In the apse the Ascension of Christ. The Annunciation occupies the two pillars next to the altar."
The 9th- and 10th-century mosaics of the Hagia Sophia in Constantinople are truly classical Byzantine artworks. The north and south tympana beneath the dome was decorated with figures of prophets, saints and patriarchs. Above the principal door from the narthex we can see an Emperor kneeling before Christ (late 9th or early 10th century). Above the door from the southwest vestibule to the narthex another mosaic shows the Theotokos with Justinian and Constantine. Justinian I is offering the model of the church to Mary while Constantine is holding a model of the city in his hand. Both emperors are beardless – this is an example for conscious archaization as contemporary Byzantine rulers were bearded. A mosaic panel on the gallery shows Christ with Constantine Monomachos and Empress Zoe (1042–1055). The emperor gives a bulging money sack to Christ as a donation for the church.
There are very few existing mosaics from the Komnenian period but this paucity must be due to accidents of survival and gives a misleading impression. The only surviving 12th-century mosaic work in Constantinople is a panel in Hagia Sophia depicting Emperor John II and Empress Eirene with the Theotokos (1122–34). The empress with her long braided hair and rosy cheeks is especially capturing. It must be a lifelike portrayal because Eirene was really a redhead as her original Hungarian name, Piroska shows. The adjacent portrait of Emperor Alexios I Komnenos on a pier (from 1122) is similarly personal. The imperial mausoleum of the Komnenos dynasty, the Pantokrator Monastery was certainly decorated with great mosaics but these were later destroyed. The lack of Komnenian mosaics outside the capital is even more apparent. There is only a "Communion of the Apostles" in the apse of the cathedral of Serres.
A striking technical innovation of the Komnenian period was the production of very precious, miniature mosaic icons. In these icons the small tesserae (with sides of 1 mm or less) were set on wax or resin on a wooden panel. These products of extraordinary craftmanship were intended for private devotion. The Louvre Transfiguration is a very fine example from the late 12th century. The miniature mosaic of Christ in the Museo Nazionale at Florence illustrates the more gentle, humanistic conception of Christ which appeared in the 12th century.
The Church of the Holy Apostles in Thessaloniki was built in 1310–14. Although some vandal systematically removed the gold tesserae of the background it can be seen that the Pantokrator and the prophets in the dome follow the traditional Byzantine pattern. Many details are similar to the Pammakaristos mosaics so it is supposed that the same team of mosaicists worked in both buildings. Another building with a related mosaic decoration is the Theotokos Paregoritissa Church in Arta. The church was established by the Despot of Epirus in 1294–96. In the dome is the traditional stern Pantokrator, with prophets and cherubim below.
The greatest mosaic work of the Palaeologan renaissance in art is the decoration of the Chora Church in Constantinople. Although the mosaics of the naos have not survived except three panels, the decoration of the exonarthex and the esonarthex constitute the most important full-scale mosaic cycle in Constantinople after the Hagia Sophia. They were executed around 1320 by the command of Theodore Metochites. The esonarthex has two fluted domes, specially created to provide the ideal setting for the mosaic images of the ancestors of Christ. The southern one is called the Dome of the Pantokrator while the northern one is the Dome of the Theotokos. The most important panel of the esonarthex depicts Theodore Metochites wearing a huge turban, offering the model of the church to Christ. The walls of both narthexes are decorated with mosaic cycles from the life of the Virgin and the life of Christ. These panels show the influence of the Italian trecento on Byzantine art especially the more natural settings, landscapes, figures.
The last great period of Roman mosaic art was the 12th–13th century when Rome developed its own distinctive artistic style, free from the strict rules of eastern tradition and with a more realistic portrayal of figures in the space. Well-known works of this period are the floral mosaics of the Basilica di San Clemente, the façade of Santa Maria in Trastevere and San Paolo fuori le Mura. The beautiful apse mosaic of Santa Maria in Trastevere (1140) depicts Christ and Mary sitting next to each other on the heavenly throne, the first example of this iconographic scheme. A similar mosaic, the Coronation of the Virgin, decorates the apse of Santa Maria Maggiore. It is a work of Jacopo Torriti from 1295. The mosaics of Torriti and Jacopo da Camerino in the apse of San Giovanni in Laterano from 1288–94 were thoroughly restored in 1884. The apse mosaic of San Crisogono is attributed to Pietro Cavallini, the greatest Roman painter of the 13th century. Six scenes from the life of Mary in Santa Maria in Trastevere were also executed by Cavallini in 1290. These mosaics are praised for their realistic portrayal and attempts of perspective. There is an interesting mosaic medaillon from 1210 above the gate of the church of San Tommaso in Formis showing Christ enthroned between a white and a black slave. The church belonged to the Order of the Trinitarians which was devoted to ransoming Christian slaves.
The great Navicella mosaic (1305–1313) in the atrium of the Old St. Peter's is attributed to Giotto di Bondone. The giant mosaic, commissioned by Cardinal Jacopo Stefaneschi, was originally situated on the eastern porch of the old basilica and occupied the whole wall above the entrance arcade facing the courtyard. It depicted St. Peter walking on the waters. This extraordinary work was mainly destroyed during the construction of the new St. Peter's in the 17th century. Navicella means "little ship" referring to the large boat which dominated the scene, and whose sail, filled by the storm, loomed over the horizon. Such a natural representation of a seascape was known only from ancient works of art.
The heyday of mosaic making in Sicily was the age of the independent Norman kingdom in the 12th century. The Norman kings adopted the Byzantine tradition of mosaic decoration to enhance the somewhat dubious legality of their rule. Greek masters working in Sicily developed their own style, that shows the influence of Western European and Islamic artistic tendencies. Best examples of Sicilian mosaic art are the Cappella Palatina of Roger II, the Martorana church in Palermo and the cathedrals of Cefalù and Monreale.
The Martorana church (decorated around 1143) looked originally even more Byzantine although important parts were later demolished. The dome mosaic is similar to that of the Cappella Palatina, with Christ enthroned in the middle and four bowed, elongated angels. The Greek inscriptions, decorative patterns, and evangelists in the squinches are obviously executed by the same Greek masters who worked on the Cappella Palatina. The mosaic depicting Roger II of Sicily, dressed in Byzantine imperial robes and receiving the crown by Christ, was originally in the demolished narthex together with another panel, the Theotokos with Georgios of Antiochia, the founder of the church.
The Monreale mosaics constitute the largest decoration of this kind in Italy, covering 0,75 hectares with at least 100 million glass and stone tesserae. This huge work was executed between 1176 and 1186 by the order of King William II of Sicily. The iconography of the mosaics in the presbytery is similar to Cefalu while the pictures in the nave are almost the same as the narrative scenes in the Cappella Palatina. The Martorana mosaic of Roger II blessed by Christ was repeated with the figure of King William II instead of his predecessor. Another panel shows the king offering the model of the cathedral to the Theotokos.
Southern Italy was also part of the Norman kingdom but great mosaics did not survive in this area except the fine mosaic pavement of the Otranto Cathedral from 1166, with mosaics tied into a tree of life, mostly still preserved. The scenes depict biblical characters, warrior kings, medieval beasts, allegories of the months and working activity. Only fragments survived from the original mosaic decoration of Amalfi's Norman Cathedral. The mosaic ambos in the churches of Ravello prove that mosaic art was widespread in Southern Italy during the 11th–13th centuries.
In parts of Italy, which were under eastern artistic influences, like Sicily and Venice, mosaic making never went out of fashion in the Middle Ages. The whole interior of the St Mark's Basilica in Venice is clad with elaborate, golden mosaics. The oldest scenes were executed by Greek masters in the late 11th century but the majority of the mosaics are works of local artists from the 12th–13th centuries. The decoration of the church was finished only in the 16th century. One hundred and ten scenes of mosaics in the atrium of St Mark's were based directly on the miniatures of the Cotton Genesis, a Byzantine manuscript that was brought to Venice after the sack of Constantinople (1204). The mosaics were executed in the 1220s.
Other important Venetian mosaics can be found in the Cathedral of Santa Maria Assunta in Torcello from the 12th century, and in the Basilical of Santi Maria e Donato in Murano with a restored apse mosaic from the 12th century and a beautiful mosaic pavement (1140). The apse of the San Cipriano Church in Murano was decorated with an impressive golden mosaic from the early 13th century showing Christ enthroned with Mary, St John and the two patron saints, Cipriano and Cipriana. When the church was demolished in the 19th century, the mosaic was bought by Frederick William IV of Prussia. It was reassembled in the Friedenskirche of Potsdam in the 1840s.
The Abbot of Monte Cassino, Desiderius sent envoys to Constantinople some time after 1066 to hire expert Byzantine mosaicists for the decoration of the rebuilt abbey church. According to chronicler Leo of Ostia the Greek artists decorated the apse, the arch and the vestibule of the basilica. Their work was admired by contemporaries but was totally destroyed in later centuries except two fragments depicting greyhounds (now in the Monte Cassino Museum). "The abbot in his wisdom decided that great number of young monks in the monastery should be thoroughly initiated in these arts" – says the chronicler about the role of the Greeks in the revival of mosaic art in medieval Italy.
Sometimes not only church interiors but façades were also decorated with mosaics in Italy like in the case of the St Mark's Basilica in Venice (mainly from the 17th–19th centuries, but the oldest one from 1270–75, "The burial of St Mark in the first basilica"), the Cathedral of Orvieto (golden Gothic mosaics from the 14th century, many times redone) and the Basilica di San Frediano in Lucca (huge, striking golden mosaic representing the Ascension of Christ with the apostles below, designed by Berlinghiero Berlinghieri in the 13th century). The Cathedral of Spoleto is also decorated on the upper façade with a huge mosaic portraying the Blessing Christ (signed by one Solsternus from 1207).
Only scant remains prove that mosaics were still used in the Early Middle Ages. The Abbey of Saint-Martial in Limoges, originally an important place of pilgrimage, was totally demolished during the French Revolution except its crypt which was rediscovered in the 1960s. A mosaic panel was unearthed which was dated to the 9th century. It somewhat incongruously uses cubes of gilded glass and deep green marble, probably taken from antique pavements. This could also be the case with the early 9th century mosaic found under the Basilica of Saint-Quentin in Picardy, where antique motifs are copied but using only simple colors. The mosaics in the Cathedral of Saint-Jean at Lyon have been dated to the 11th century because they employ the same non-antique simple colors. More fragments were found on the site of Saint-Croix at Poitiers which might be from the 6th or 9th century.
Later fresco replaced the more labor-intensive technique of mosaic in Western-Europe, although mosaics were sometimes used as decoration on medieval cathedrals. The Royal Basilica of the Hungarian kings in Székesfehérvár (Alba Regia) had a mosaic decoration in the apse. It was probably a work of Venetian or Ravennese craftsmen, executed in the first decades of the 11th century. The mosaic was almost totally destroyed together with the basilica in the 17th century. The Golden Gate of the St. Vitus Cathedral in Prague got its name from the golden 14th-century mosaic of the Last Judgement above the portal. It was executed by Venetian craftsmen.
The Crusaders in the Holy Land also adopted mosaic decoration under local Byzantine influence. During their 12th-century reconstruction of the Church of the Holy Sepulchre in Jerusalem they complemented the existing Byzantine mosaics with new ones. Almost nothing of them survived except the "Ascension of Christ" in the Latin Chapel (now confusingly surrounded by many 20th-century mosaics). More substantial fragments were preserved from the 12th-century mosaic decoration of the Church of the Nativity in Bethlehem. The mosaics in the nave are arranged in five horizontal bands with the figures of the ancestors of Christ, Councils of the Church and angels. In the apses the Annunciation, the Nativity, Adoration of the Magi and Dormition of the Blessed Virgin can be seen. The program of redecoration of the church was completed in 1169 as a unique collaboration of the Byzantine emperor, the king of Jerusalem and the Latin Church.
In 2003, the remains of a mosaic pavement were discovered under the ruins of the Bizere Monastery near the River Mureş in present-day Romania. The panels depict real or fantastic animal, floral, solar and geometric representations. Some archeologists supposed that it was the floor of an Orthodox church, built some time between the 10th and 11th century. Other experts claim that it was part of the later Catholic monastery on the site because it shows the signs of strong Italianate influence. The monastery was situated that time in the territory of the Kingdom of Hungary.
The mosaics of St. Peter's often show lively Baroque compositions based on designs or canvases from like Ciro Ferri, Guido Reni, Domenichino, Carlo Maratta, and many others. Raphael is represented by a mosaic replica of this last painting, the Transfiguration. Many different artists contributed to the 17th- and 18th-century mosaics in St. Peter's, including Giovanni Battista Calandra, Fabio Cristofari (died 1689), and Pietro Paolo Cristofari (died 1743). Works of the Fabbrica were often used as papal gifts.
The single most important piece of Byzantine Christian mosaic art in the East is the Madaba Map, made between 542 and 570 as the floor of the church of Saint George at Madaba, Jordan. It was rediscovered in 1894. The Madaba Map is the oldest surviving cartographic depiction of the Holy Land. It depicts an area from Lebanon in the north to the Nile Delta in the south, and from the Mediterranean Sea in the west to the Eastern Desert. The largest and most detailed element of the topographic depiction is Jerusalem, at the center of the map. The map is enriched with many naturalistic features, like animals, fishing boats, bridges and palm trees
Important Justinian era mosaics decorated the Saint Catherine's Monastery on Mount Sinai in Egypt. Generally wall mosaics have not survived in the region because of the destruction of buildings but the St. Catherine's Monastery is exceptional. On the upper wall Moses is shown in two panels on a landscape background. In the apse we can see the Transfiguration of Jesus on a golden background. The apse is surrounded with bands containing medallions of apostles and prophets, and two contemporary figure, "Abbot Longinos" and "John the Deacon". The mosaic was probably created in 565/6.
Jerusalem with its many holy places probably had the highest concentration of mosaic-covered churches but very few of them survived the subsequent waves of destructions. The present remains do not do justice to the original richness of the city. The most important is the so-called "Armenian Mosaic" which was discovered in 1894 on the Street of the Prophets near Damascus Gate. It depicts a vine with many branches and grape clusters, which springs from a vase. Populating the vine's branches are peacocks, ducks, storks, pigeons, an eagle, a partridge, and a parrot in a cage. The inscription reads: "For the memory and salvation of all those Armenians whose name the Lord knows." Beneath a corner of the mosaic is a small, natural cave which contained human bones dating to the 5th or 6th centuries. The symbolism of the mosaic and the presence of the burial cave indicates that the room was used as a mortuary chapel.
An exceptionally well preserved, carpet-like mosaic floor was uncovered in 1949 in Bethany, the early Byzantine church of the Lazarium which was built between 333 and 390. Because of its purely geometrical pattern, the church floor is to be grouped with other mosaics of the time in Palestine and neighboring areas, especially the Constantinian mosaics in the central nave at Bethlehem. A second church was built above the older one during the 6th century with another more simple geometric mosaic floor.
The monastic communities of the Judean Desert also decorated their monasteries with mosaic floors. The Monastery of Martyrius was founded in the end of the 5th century and it was re-discovered in 1982–85. The most important work of art here is the intact geometric mosaic floor of the refectory although the severely damaged church floor was similarly rich. The mosaics in the church of the nearby Monastery of Euthymius are of later date (discovered in 1930). They were laid down in the Umayyad era, after a devastating earthquake in 659. Two six pointed stars and a red chalice are the most important surviving features.
Mosaic art also flourished in Christian Petra where three Byzantine churches were discovered. The most important one was uncovered in 1990. It is known that the walls were also covered with golden glass mosaics but only the floor panels survived as usual. The mosaic of the seasons in the southern aisle is from this first building period from the middle of the 5th century. In the first half of the 6th century the mosaics of the northern aisle and the eastern end of the southern aisle were installed. They depict native as well as exotic or mythological animals, and personifications of the Seasons, Ocean, Earth and Wisdom.
The mosaics of the Church of St Stephen in ancient Kastron Mefaa (now Umm ar-Rasas) were made in 785 (discovered after 1986). The perfectly preserved mosaic floor is the largest one in Jordan. On the central panel hunting and fishing scenes are depicted while another panel illustrates the most important cities of the region. The frame of the mosaic is especially decorative. Six mosaic masters signed the work: Staurachios from Esbus, Euremios, Elias, Constantinus, Germanus and Abdela. It overlays another, damaged, mosaic floor of the earlier (587) "Church of Bishop Sergius." Another four churches were excavated nearby with traces of mosaic decoration.
The craft has also been popular in early medieval Rus, inherited as part of the Byzantine tradition. Yaroslav, the Grand Prince of the Kievan Rus' built a large cathedral in his capital, Kiev. The model of the church was the Hagia Sophia in Constantinople, and it was also called Saint Sophia Cathedral. It was built mainly by Byzantine master craftsmen, sent by Constantine Monomachos, between 1037 and 1046. Naturally the more important surfaces in the interior were decorated with golden mosaics. In the dome we can see the traditional stern Pantokrator supported by angels. Between the 12 windows of the drum were apostles and the four evangelists on the pendentives. The apse is dominated by an orant Theotokos with a Deesis in three medallions above. Below is a Communion of the Apostles.
The apse mosaic of the Gelati Monastery is a rare example of mosaic use in Georgia. Began by king David IV and completed by his son Demetrius I of Georgia, the fragmentary panel depicts Theotokos flanked by two archangels. The use of mosaic in Gelati attests to some Byzantine influence in the country and was a demonstration of the imperial ambition of the Bagrationids. The mosaic covered church could compete in magnificence with the churches of Constantinople. Gelati is one of few mosaic creations which survived in Georgia but fragments prove that the early churches of Pitsunda and Tsromi were also decorated with mosaic as well as other, lesser known sites. The destroyed 6th century mosaic floors in the Pitsunda Cathedral have been inspired by Roman prototypes. In Tsromi the tesserae are still visible on the walls of the 7th-century church but only faint lines hint at the original scheme. Its central figure was Christ standing and displaying a scroll with Georgian text.
The remains of a 6th-century synagogue have been uncovered in Sepphoris, which was an important centre of Jewish culture between the 3rd–7th centuries and a multicultural town inhabited by Jews, Christians and pagans. The mosaic reflects an interesting fusion of Jewish and pagan beliefs. In the center of the floor the zodiac wheel was depicted. Helios sits in the middle, in his sun chariot, and each zodiac is matched with a Jewish month. Along the sides of the mosaic are strips depicting Biblical scenes, such as the binding of Isaac, as well as traditional rituals, including a burnt sacrifice and the offering of fruits and grains.
The synagogue in Eshtemoa (As-Samu) was built around the 4th century. The mosaic floor is decorated with only floral and geometric patterns. The synagogue in Khirbet Susiya (excavated in 1971–72, founded in the end of the 4th century) has three mosaic panels, the eastern one depicting a Torah shrine, two menorahs, a lulav and an etrog with columns, deer and rams. The central panel is geometric while the western one is seriously damaged but it has been suggested that it depicted Daniel in the lion’s den. The Roman synagogue in Ein Gedi was remodeled in the Byzantine era and a more elaborate mosaic floor was laid down above the older white panels. The usual geometric design was enriched with birds in the center. It includes the names of the signs of the zodiac and important figures from the Jewish past but not their images suggesting that it served a rather conservative community.
The ban on figurative depiction was not taken so seriously by the Jews living in Byzantine Gaza. In 1966 remains of a synagogue were found in the ancient harbour area. Its mosaic floor depicts King David as Orpheus, identified by his name in Hebrew letters. Near him were lion cubs, a giraffe and a snake listening to him playing a lyre. A further portion of the floor was divided by medallions formed by vine leaves, each of which contains an animal: a lioness suckling her cub, a giraffe, peacocks, panthers, bears, a zebra and so on. The floor was paved in 508/509. It is very similar to that of the synagogue at Maon (Menois) and the Christian church at Shellal, suggesting that the same artist most probably worked at all three places.
A 5th-century building in Huldah may be a Samaritan synagogue. Its mosaic floor contains typical Jewish symbols (menorah, lulav, etrog) but the inscriptions are Greek. Another Samaritan synagogue with a mosaic floor was located in Bet She'an (excavated in 1960). The floor had only decorative motifs and an aedicule (shrine) with cultic symbols. The ban on human or animal images was more strictly observed by the Samaritans than their Jewish neighbours in the same town (see above). The mosaic was laid by the same masters who made the floor of the Beit Alfa synagogue. One of the inscriptions was written in Samaritan script.
Islamic architecture used mosaic technique to decorate religious buildings and palaces after the Muslim conquests of the eastern provinces of the Byzantine Empire. In Syria and Egypt the Arabs were influenced by the great tradition of Roman and Early Christian mosaic art. During the Umayyad Dynasty mosaic making remained a flourishing art form in Islamic culture and it is continued in the art of zellige and azulejo in various parts of the Arab world, although tile was to become the main Islamic form of wall decoration.
The most important early Islamic mosaic work is the decoration of the Umayyad Mosque in Damascus, then capital of the Arab Caliphate. The mosque was built between 706 and 715. The caliph obtained 200 skilled workers from the Byzantine Emperor to decorate the building. This is evidenced by the partly Byzantine style of the decoration. The mosaics of the inner courtyard depict Paradise with beautiful trees, flowers and small hill towns and villages in the background. The mosaics include no human figures, which makes them different from the otherwise similar contemporary Byzantine works. The biggest continuous section survives under the western arcade of the courtyard, called the "Barada Panel" after the river Barada. It is thought that the mosque used to have the largest gold mosaic in the world, at over 4 m2. In 1893 a fire damaged the mosque extensively, and many mosaics were lost, although some have been restored since.
Non-religious Umayyad mosaic works were mainly floor panels which decorated the palaces of the caliphs and other high-ranking officials. They were closely modeled after the mosaics of the Roman country villas, once common in the Eastern Mediterranean. The most superb example can be found in the bath house of Hisham's Palace, Palestine which was made around 744. The main panel depicts a large tree and underneath it a lion attacking a deer (right side) and two deers peacefully grazing (left side). The panel probably represents good and bad governance. Mosaics with classical geometric motifs survived in the bath area of the 8th-century Umayyad palace complex in Anjar, Lebanon. The luxurious desert residence of Al-Walid II in Qasr al-Hallabat (in present-day Jordan) was also decorated with floor mosaics that show a high level of technical skill. The best preserved panel at Hallabat is divided by a Tree of Life flanked by "good" animals on one side and "bad" animals on the other. Among the Hallabat representations are vine scrolls, grapes, pomegranates, oryx, wolves, hares, a leopard, pairs of partridges, fish, bulls, ostriches, rabbits, rams, goats, lions and a snake. At Qastal, near Amman, excavations in 2000 uncovered the earliest known Umayyad mosaics in present-day Jordan, dating probably from the caliphate of Abd al-Malik ibn Marwan (685–705). They cover much of the floor of a finely decorated building that probably served as the palace of a local governor. The Qastal mosaics depict geometrical patterns, trees, animals, fruits and rosettes. Except for the open courtyard, entrance and staircases, the floors of the entire palace were covered in mosaics.
Some of the best examples of later Islamic mosaics were produced in Moorish Spain. The golden mosaics in the mihrab and the central dome of the Great Mosque in Corduba have a decidedly Byzantine character. They were made between 965 and 970 by local craftsmen, supervised by a master mosaicist from Constantinople, who was sent by the Byzantine Emperor to the Umayyad Caliph of Spain. The decoration is composed of colorful floral arabesques and wide bands of Arab calligraphy. The mosaics were purported to evoke the glamour of the Great Mosque in Damascus, which was lost for the Umayyad family.
Noted 19th-century mosaics include those by Edward Burne-Jones at St Pauls within the Walls in Rome. Another modern mosaic of note is the world's largest mosaic installation located at the Cathedral Basilica of St. Louis, located in St. Louis, Missouri. A modern example of mosaic is the Museum of Natural History station of the New York City Subway (there are many such works of art scattered throughout the New York City subway system, though many IND stations are usually designed with bland mosaics.) Another example of mosaics in ordinary surroundings is the use of locally themed mosaics in some restrooms in the rest areas along some Texas interstate highways.
In styles that owe as much to videogame pixel art and popculture as to traditional mosaic, street art has seen a novel reinvention and expansion of mosaic artwork. The most prominent artist working with mosaics in street art is the French Invader. He has done almost all his work in two very distinct mosaic styles, the first of which are small "traditional" tile mosaics of 8 bit video game character, installed in cities across the globe, and the second of which are a style he refers to as "Rubikcubism", which uses a kind of dual layer mosaic via grids of scrambled Rubik's Cubes. Although he is the most prominent, other street and urban artists do work in Mosaic styles as well.
Portuguese pavement (in Portuguese, Calçada Portuguesa) is a kind of two-tone stone mosaic paving created in Portugal, and common throughout the Lusosphere. Most commonly taking the form of geometric patterns from the simple to the complex, it also is used to create complex pictorial mosaics in styles ranging from iconography to classicism and even modern design. In Portuguese-speaking countries, many cities have a large amount of their sidewalks and even, though far more occasionally, streets done in this mosaic form. Lisbon in particular maintains almost all walkways in this style.
The indirect method of applying tesserae is often used for very large projects, projects with repetitive elements or for areas needing site specific shapes. Tiles are applied face-down to a backing paper using an adhesive, and later transferred onto walls, floors or craft projects. This method is most useful for extremely large projects as it gives the maker time to rework areas, allows the cementing of the tiles to the backing panel to be carried out quickly in one operation and helps ensure that the front surfaces of the mosaic tiles and mosaic pieces are flat and in the same plane on the front, even when using tiles and pieces of differing thicknesses. Mosaic murals, benches and tabletops are some of the items usually made using the indirect method, as it results in a smoother and more even surface.
The double indirect method can be used when it is important to see the work during the creation process as it will appear when completed. The tesserae are placed face-up on a medium (often adhesive-backed paper, sticky plastic or soft lime or putty) as it will appear when installed. When the mosaic is complete, a similar medium is placed atop it. The piece is then turned over, the original underlying material is carefully removed, and the piece is installed as in the indirect method described above. In comparison to the indirect method, this is a complex system to use and requires great skill on the part of the operator, to avoid damaging the work. Its greatest advantage lies in the possibility of the operator directly controlling the final result of the work, which is important e.g. when the human figure is involved. This method was created in 1989 by Maurizio Placuzzi and registered for industrial use (patent n. 0000222556) under the name of his company, Sicis International Srl, now Sicis The Art Mosaic Factory Srl.
A tile mosaic is a digital image made up of individual tiles, arranged in a non-overlapping fashion, e.g. to make a static image on a shower room or bathing pool floor, by breaking the image down into square pixels formed from ceramic tiles (a typical size is 1 in × 1 in (25 mm × 25 mm), as for example, on the floor of the University of Toronto pool, though sometimes larger tiles such as 2 in × 2 in (51 mm × 51 mm) are used). These digital images are coarse in resolution and often simply express text, such as the depth of the pool in various places, but some such digital images are used to show a sunset or other beach theme.
With high cost of labor in developed countries, production automation has become increasingly popular. Rather than being assembled by hand, mosaics designed using computer aided design (CAD) software can be assembled by a robot. Production can be greater than 10 times faster with higher accuracy. But these "computer" mosaics have a different look than hand-made "artisanal" mosaics. With robotic production, colored tiles are loaded into buffers, and then the robot picks and places tiles individually according to a command file from the design software.
The original Latin word "universitas" refers in general to "a number of persons associated into one body, a society, company, community, guild, corporation, etc." At the time of the emergence of urban town life and medieval guilds, specialised "associations of students and teachers with collective legal rights usually guaranteed by charters issued by princes, prelates, or the towns in which they were located" came to be denominated by this general term. Like other guilds, they were self-regulating and determined the qualifications of their members.
An important idea in the definition of a university is the notion of academic freedom. The first documentary evidence of this comes from early in the life of the first university. The University of Bologna adopted an academic charter, the Constitutio Habita, in 1158 or 1155, which guaranteed the right of a traveling scholar to unhindered passage in the interests of education. Today this is claimed as the origin of "academic freedom". This is now widely recognised internationally - on 18 September 1988, 430 university rectors signed the Magna Charta Universitatum, marking the 900th anniversary of Bologna's foundation. The number of universities signing the Magna Charta Universitatum continues to grow, drawing from all parts of the world.
European higher education took place for hundreds of years in Christian cathedral schools or monastic schools (scholae monasticae), in which monks and nuns taught classes; evidence of these immediate forerunners of the later university at many places dates back to the 6th century. The earliest universities were developed under the aegis of the Latin Church by papal bull as studia generalia and perhaps from cathedral schools. It is possible, however, that the development of cathedral schools into universities was quite rare, with the University of Paris being an exception. Later they were also founded by Kings (University of Naples Federico II, Charles University in Prague, Jagiellonian University in Kraków) or municipal administrations (University of Cologne, University of Erfurt). In the early medieval period, most new universities were founded from pre-existing schools, usually when these schools were deemed to have become primarily sites of higher education. Many historians state that universities and cathedral schools were a continuation of the interest in learning promoted by monasteries.
All over Europe rulers and city governments began to create universities to satisfy a European thirst for knowledge, and the belief that society would benefit from the scholarly expertise generated from these institutions. Princes and leaders of city governments perceived the potential benefits of having a scholarly expertise develop with the ability to address difficult problems and achieve desired ends. The emergence of humanism was essential to this understanding of the possible utility of universities as well as the revival of interest in knowledge gained from ancient Greek texts.
The rediscovery of Aristotle's works–more than 3000 pages of it would eventually be translated –fuelled a spirit of inquiry into natural processes that had already begun to emerge in the 12th century. Some scholars believe that these works represented one of the most important document discoveries in Western intellectual history. Richard Dales, for instance, calls the discovery of Aristotle's works "a turning point in the history of Western thought." After Aristotle re-emerged, a community of scholars, primarily communicating in Latin, accelerated the process and practice of attempting to reconcile the thoughts of Greek antiquity, and especially ideas related to understanding the natural world, with those of the church. The efforts of this "scholasticism" were focused on applying Aristotelian logic and thoughts about natural processes to biblical passages and attempting to prove the viability of those passages through reason. This became the primary mission of lecturers, and the expectation of students.
The university culture developed differently in northern Europe than it did in the south, although the northern (primarily Germany, France and Great Britain) and southern universities (primarily Italy) did have many elements in common. Latin was the language of the university, used for all texts, lectures, disputations and examinations. Professors lectured on the books of Aristotle for logic, natural philosophy, and metaphysics; while Hippocrates, Galen, and Avicenna were used for medicine. Outside of these commonalities, great differences separated north and south, primarily in subject matter. Italian universities focused on law and medicine, while the northern universities focused on the arts and theology. There were distinct differences in the quality of instruction in these areas which were congruent with their focus, so scholars would travel north or south based on their interests and means. There was also a difference in the types of degrees awarded at these universities. English, French and German universities usually awarded bachelor's degrees, with the exception of degrees in theology, for which the doctorate was more common. Italian universities awarded primarily doctorates. The distinction can be attributed to the intent of the degree holder after graduation – in the north the focus tended to be on acquiring teaching positions, while in the south students often went on to professional positions. The structure of northern universities tended to be modeled after the system of faculty governance developed at the University of Paris. Southern universities tended to be patterned after the student-controlled model begun at the University of Bologna. Among the southern universities, a further distinction has been noted between those of northern Italy, which followed the pattern of Bologna as a "self-regulating, independent corporation of scholars" and those of southern Italy and Iberia, which were "founded by royal and imperial charter to serve the needs of government."
Their endowment by a prince or monarch and their role in training government officials made these Mediterranean universities similar to Islamic madrasas, although madrasas were generally smaller and individual teachers, rather than the madrasa itself, granted the license or degree. Scholars like Arnold H. Green and Hossein Nasr have argued that starting in the 10th century, some medieval Islamic madrasahs became universities. George Makdisi and others, however, argue that the European university has no parallel in the medieval Islamic world. Other scholars regard the university as uniquely European in origin and characteristics.
Many scholars (including Makdisi) have argued that early medieval universities were influenced by the religious madrasahs in Al-Andalus, the Emirate of Sicily, and the Middle East (during the Crusades). Other scholars see this argument as overstated. Lowe and Yasuhara have recently drawn on the well-documented influences of scholarship from the Islamic world on the universities of Western Europe to call for a reconsideration of the development of higher education, turning away from a concern with local institutional structures to a broader consideration within a global context.
During the Early Modern period (approximately late 15th century to 1800), the universities of Europe would see a tremendous amount of growth, productivity and innovative research. At the end of the Middle Ages, about 400 years after the first university was founded, there were twenty-nine universities spread throughout Europe. In the 15th century, twenty-eight new ones were created, with another eighteen added between 1500 and 1625. This pace continued until by the end of the 18th century there were approximately 143 universities in Europe and Eastern Europe, with the highest concentrations in the German Empire (34), Italian countries (26), France (25), and Spain (23) – this was close to a 500% increase over the number of universities toward the end of the Middle Ages. This number does not include the numerous universities that disappeared, or institutions that merged with other universities during this time. It should be noted that the identification of a university was not necessarily obvious during the Early Modern period, as the term is applied to a burgeoning number of institutions. In fact, the term "university" was not always used to designate a higher education institution. In Mediterranean countries, the term studium generale was still often used, while "Academy" was common in Northern European countries.
The propagation of universities was not necessarily a steady progression, as the 17th century was rife with events that adversely affected university expansion. Many wars, and especially the Thirty Years' War, disrupted the university landscape throughout Europe at different times. War, plague, famine, regicide, and changes in religious power and structure often adversely affected the societies that provided support for universities. Internal strife within the universities themselves, such as student brawling and absentee professors, acted to destabilize these institutions as well. Universities were also reluctant to give up older curricula, and the continued reliance on the works of Aristotle defied contemporary advancements in science and the arts. This era was also affected by the rise of the nation-state. As universities increasingly came under state control, or formed under the auspices of the state, the faculty governance model (begun by the University of Paris) became more and more prominent. Although the older student-controlled universities still existed, they slowly started to move toward this structural organization. Control of universities still tended to be independent, although university leadership was increasingly appointed by the state.
Although the structural model provided by the University of Paris, where student members are controlled by faculty "masters," provided a standard for universities, the application of this model took at least three different forms. There were universities that had a system of faculties whose teaching addressed a very specific curriculum; this model tended to train specialists. There was a collegiate or tutorial model based on the system at University of Oxford where teaching and organization was decentralized and knowledge was more of a generalist nature. There were also universities that combined these models, using the collegiate model but having a centralized organization.
Early Modern universities initially continued the curriculum and research of the Middle Ages: natural philosophy, logic, medicine, theology, mathematics, astronomy (and astrology), law, grammar and rhetoric. Aristotle was prevalent throughout the curriculum, while medicine also depended on Galen and Arabic scholarship. The importance of humanism for changing this state-of-affairs cannot be underestimated. Once humanist professors joined the university faculty, they began to transform the study of grammar and rhetoric through the studia humanitatis. Humanist professors focused on the ability of students to write and speak with distinction, to translate and interpret classical texts, and to live honorable lives. Other scholars within the university were affected by the humanist approaches to learning and their linguistic expertise in relation to ancient texts, as well as the ideology that advocated the ultimate importance of those texts. Professors of medicine such as Niccolò Leoniceno, Thomas Linacre and William Cop were often trained in and taught from a humanist perspective as well as translated important ancient medical texts. The critical mindset imparted by humanism was imperative for changes in universities and scholarship. For instance, Andreas Vesalius was educated in a humanist fashion before producing a translation of Galen, whose ideas he verified through his own dissections. In law, Andreas Alciatus infused the Corpus Juris with a humanist perspective, while Jacques Cujas humanist writings were paramount to his reputation as a jurist. Philipp Melanchthon cited the works of Erasmus as a highly influential guide for connecting theology back to original texts, which was important for the reform at Protestant universities. Galileo Galilei, who taught at the Universities of Pisa and Padua, and Martin Luther, who taught at the University of Wittenberg (as did Melanchthon), also had humanist training. The task of the humanists was to slowly permeate the university; to increase the humanist presence in professorships and chairs, syllabi and textbooks so that published works would demonstrate the humanistic ideal of science and scholarship.
Although the initial focus of the humanist scholars in the university was the discovery, exposition and insertion of ancient texts and languages into the university, and the ideas of those texts into society generally, their influence was ultimately quite progressive. The emergence of classical texts brought new ideas and led to a more creative university climate (as the notable list of scholars above attests to). A focus on knowledge coming from self, from the human, has a direct implication for new forms of scholarship and instruction, and was the foundation for what is commonly known as the humanities. This disposition toward knowledge manifested in not simply the translation and propagation of ancient texts, but also their adaptation and expansion. For instance, Vesalius was imperative for advocating the use of Galen, but he also invigorated this text with experimentation, disagreements and further research. The propagation of these texts, especially within the universities, was greatly aided by the emergence of the printing press and the beginning of the use of the vernacular, which allowed for the printing of relatively large texts at reasonable prices.
There are several major exceptions on tuition fees. In many European countries, it is possible to study without tuition fees. Public universities in Nordic countries were entirely without tuition fees until around 2005. Denmark, Sweden and Finland then moved to put in place tuition fees for foreign students. Citizens of EU and EEA member states and citizens from Switzerland remain exempted from tuition fees, and the amounts of public grants granted to promising foreign students were increased to offset some of the impact.
Colloquially, the term university may be used to describe a phase in one's life: "When I was at university..." (in the United States and Ireland, college is often used instead: "When I was in college..."). In Australia, Canada, New Zealand, the United Kingdom, Nigeria, the Netherlands, Spain and the German-speaking countries university is often contracted to uni. In Ghana, New Zealand and in South Africa it is sometimes called "varsity" (although this has become uncommon in New Zealand in recent years). "Varsity" was also common usage in the UK in the 19th century.[citation needed] "Varsity" is still in common usage in Scotland.
In Canada, "college" generally refers to a two-year, non-degree-granting institution, while "university" connotes a four-year, degree-granting institution. Universities may be sub-classified (as in the Macleans rankings) into large research universities with many PhD granting programs and medical schools (for example, McGill University); "comprehensive" universities that have some PhDs but aren't geared toward research (such as Waterloo); and smaller, primarily undergraduate universities (such as St. Francis Xavier).
Although each institution is organized differently, nearly all universities have a board of trustees; a president, chancellor, or rector; at least one vice president, vice-chancellor, or vice-rector; and deans of various divisions. Universities are generally divided into a number of academic departments, schools or faculties. Public university systems are ruled over by government-run higher education boards. They review financial requests and budget proposals and then allocate funds for each university in the system. They also approve new programs of instruction and cancel or make changes in existing programs. In addition, they plan for the further coordinated growth and development of the various institutions of higher education in the state or country. However, many public universities in the world have a considerable degree of financial, research and pedagogical autonomy. Private universities are privately funded and generally have broader independence from state policies. However, they may have less independence from business corporations depending on the source of their finances.
The funding and organization of universities varies widely between different countries around the world. In some countries universities are predominantly funded by the state, while in others funding may come from donors or from fees which students attending the university must pay. In some countries the vast majority of students attend university in their local town, while in other countries universities attract students from all over the world, and may provide university accommodation for their students.
Universities created by bilateral or multilateral treaties between states are intergovernmental. An example is the Academy of European Law, which offers training in European law to lawyers, judges, barristers, solicitors, in-house counsel and academics. EUCLID (Pôle Universitaire Euclide, Euclid University) is chartered as a university and umbrella organisation dedicated to sustainable development in signatory countries, and the United Nations University engages in efforts to resolve the pressing global problems that are of concern to the United Nations, its peoples and member states. The European University Institute, a post-graduate university specialised in the social sciences, is officially an intergovernmental organisation, set up by the member states of the European Union.
A national university is generally a university created or run by a national state but at the same time represents a state autonomic institution which functions as a completely independent body inside of the same state. Some national universities are closely associated with national cultural or political aspirations, for instance the National University of Ireland in the early days of Irish independence collected a large amount of information on the Irish language and Irish culture. Reforms in Argentina were the result of the University Revolution of 1918 and its posterior reforms by incorporating values that sought for a more equal and laic higher education system.
In 1963, the Robbins Report on universities in the United Kingdom concluded that such institutions should have four main "objectives essential to any properly balanced system: instruction in skills; the promotion of the general powers of the mind so as to produce not mere specialists but rather cultivated men and women; to maintain research in balance with teaching, since teaching should not be separated from the advancement of learning and the search for truth; and to transmit a common culture and common standards of citizenship."
Until the 19th century, religion played a significant role in university curriculum; however, the role of religion in research universities decreased in the 19th century, and by the end of the 19th century, the German university model had spread around the world. Universities concentrated on science in the 19th and 20th centuries and became increasingly accessible to the masses. In Britain, the move from Industrial Revolution to modernity saw the arrival of new civic universities with an emphasis on science and engineering, a movement initiated in 1960 by Sir Keith Murray (chairman of the University Grants Committee) and Sir Samuel Curran, with the formation of the University of Strathclyde. The British also established universities worldwide, and higher education became available to the masses not only in Europe.
By the end of the early modern period, the structure and orientation of higher education had changed in ways that are eminently recognizable for the modern context. Aristotle was no longer a force providing the epistemological and methodological focus for universities and a more mechanistic orientation was emerging. The hierarchical place of theological knowledge had for the most part been displaced and the humanities had become a fixture, and a new openness was beginning to take hold in the construction and dissemination of knowledge that were to become imperative for the formation of the modern state.
The epistemological tensions between scientists and universities were also heightened by the economic realities of research during this time, as individual scientists, associations and universities were vying for limited resources. There was also competition from the formation of new colleges funded by private benefactors and designed to provide free education to the public, or established by local governments to provide a knowledge hungry populace with an alternative to traditional universities. Even when universities supported new scientific endeavors, and the university provided foundational training and authority for the research and conclusions, they could not compete with the resources available through private benefactors.

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